《__________.》身體山島雕塑展｜BODY ISLAND
▎時間：2024/06/22（六）-07/21（日）
▎公休：每週三四(Closed on Wed & Thu)
▎地點： 台南市中西區民權路二段64巷56號3F
▎藝術家：身體山島 BODY ISLAND
▎主辦單位：應力空間Soil Space 、土星工作室 Tu Xing Studio
▎贊助單位：國藝會 National Culture and Arts Foundation
《 ________.》-關於手
想名字是一件困難的事，所以常常在作品上省略很多文字，這樣在創作時更自由一點。由於最近腦海裡缺乏文字，和對於說得過多的疲乏，人生這麼長，就想做一場沒有文字和主題名稱的展覽，在這樣的情況下，讓自己更專注在作品的符號、氛圍上；此外，最近創作喜歡聽Haruka Nakamura ， 青葉市子和阪本龍一的音樂，大部分的作品來自於音樂的感覺、歌詞，或是某一段旋律，我想在接近自由的路上，這樣子做也可以。
另外，也希望讓觀看作品的人們，可以用身體感來認識外在帶給自己的感覺，感覺後頸的緊縮、鼻腔一股酸楚、眼眶一陣濕熱、心臟一沉、脈搏顫抖、雙手忐忑，還有其他湧上來的，難以言喻的感覺，我認為只有這些事是千真萬確的，喜歡就是喜歡、討厭就是討厭、難過就是難過、感動就是感動，它超越知識、語言、道德、認知和理性，在那些有感覺或沒感覺的時刻，都是屬於身體與靈魂的時刻，也是絕對屬於自己的時刻。
“省略原本就會忘記的，記得只有身體才會記得的。”
《 ________.》-About hand
Coming up with names is difficult, so I often leave out a lot of text from my works to give me more freedom when creating. Due to the lack of words in my mind recently and the fatigue of talking too much, life is so long, I want to do an exhibition without words and theme names. Under such circumstances, let myself focus more on the symbols and atmosphere of the work. ; In addition, I like to listen to the music of Haruka Nakamura, Aoba Ichiko and Sakamoto Ryuichi when creating recently. Most of my works come from the feeling of music, lyrics, or a certain melody. I want to do this on the road to freedom.
In addition, I also hope that people who watch the work can use their physical senses to understand the feelings brought about by the outside world, such as the tightening of the back of the neck, the soreness in the nose, the tear in the eye, the sinking of the heart, the trembling of the pulse, the uneasiness of the hands, etc. There are other indescribable feelings that come up. I think these are the only things that are absolutely true. If you like it, you like it, if you hate it, you hate it, if you are sad, you are sad, and if you are moved, you are moved. It transcends knowledge, language, morality, cognition and reason. , in those moments with or without feeling, they are all moments that belong to the body and soul, and they are also moments that absolutely belong to oneself.
"Omit what you will forget . Remember what your body will remember."
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文｜應力空間 Soil Space 主理人 彭奕軒
身體經驗如何深深地刻畫在我們的記憶中，因為感官和情感的參與使得某些時刻特別鮮明。
如果你往應力空間Soil Space的三樓外望去，這也是我很喜歡的風景，有一棵高大近五層樓高的榕樹靜靜地在這片區域。我還依稀記得前幾個月的修枝工程，動用了升降車將許多枝節去除，我們並未了解精準的原因，但當時的榕樹裡充滿美妙的鳥鳴聲。
「新生」
近期突然看到應力空間外榕樹的氣根重新向下長出，在那當下實屬感動，有可能因為是我們每日的相遇，在「遇見」新生的那一刻，彷彿了解些什麼。
應力空間很榮幸邀請到藝術家 | 身體山島/曾岩懌帶來《 ________.》個展呈現，也是應力空間第14檔展覽，關於手的展覽，也是身體山島作為主體論述所談論的第一或第二表情，表情語意透過人類或非人的「手」去傳達，有關接觸的、拾起工具、末端可能的接觸。
「圖像、符號意義的詮釋」
“省略原本就會忘記的，記得只有身體才會記得的。”＿＿身體山島
我覺得身體山島如同修行一般在前行，透過故事、透過經驗及超出經驗，在作品本位的思考上進行置換，交由觀者透過身體感知，或者說是召喚起那樣的感知，並期待在自由光影映照下，產生個體時刻的「遇見」。
If you look outside the third floor of Soil Space, which is also a view I cherish, there is a majestic banyan tree nearly five stories tall quietly standing in this area. I still vaguely remember the pruning work from a few months ago, using a lift to remove many branches. We didn't understand the precise reason then, but the banyan tree was filled with delightful bird songs at that time.
"New Growth"
Recently, I suddenly noticed new aerial roots sprouting downward from the banyan tree outside Soil Space. In that moment, I was deeply moved, perhaps because of our daily encounters. At the moment of "encountering" this new growth, it felt like I understood something.
Soil Space is honored to invite artist | Body Island to present the exhibition "________." This is also Soil Space's 14th exhibition, focusing on the theme of hands and exploring the first or second expressions discussed by Body Island as the main narrative. These expressions convey meanings through human or non-human "hands," relating to touch, picking up tools, and Possible contact with the ends of fingers.
"Interpretation of Visual and Symbolic Meanings"
"Omit what will naturally forget, only the body will remember." – Body Island
I feel that Body Island is advancing like a practice, exchanging thoughts based on the work itself through stories and experiences, and beyond experiences. It calls for perception through the body, or summons such perception, expecting moments of "encounter" under the illumination of free light and shadow.